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All; all together, usually used in an orchestral or choral score when the orchestra or all of the voices come in at the same time, also seen in Baroque-era music where two instruments share the same copy of music, after one instrument has broken off to play a more advanced form: they both play together again at the point marked tutti.
A vocal score (or, more properly, piano-vocal score) is a reduction of the full score of a vocal work (e.g., opera, musical, oratorio, cantata, etc.) to show the vocal parts (solo and choral) on their staves and the orchestral parts in a piano reduction (usually for two hands) underneath the vocal parts; the purely orchestral sections of the ...
The genre of orchestral song tends to longer programmed pieces than songs accompanied by piano. For this reason the orchestral song may be either a longer single song or, more commonly, a cycle. An example of a single long song text is found in Sibelius' tone poem Luonnotar. [5] Other examples include Grieg's Den Bergtekne, op. 32.
The score contains all the parts for the singers and the accompaniment parts and melodies for the orchestra. Orchestration is the study or practice of writing music for an orchestra (or, more loosely, for any musical ensemble , such as a concert band ) or of adapting music composed for another medium for an orchestra.
This page contains naming conventions for music-related articles, covering both classical musical works and popular bands, albums and songs. The first step for disambiguating classical compositions is rather a reference to their composer, while popular music is rather disambiguated by a type qualifier.
A rehearsal letter, sometimes referred to as rehearsal marks, [1] [2] rehearsal figures, [3] or rehearsal numbers, is a boldface letter of the alphabet in an orchestral score, and its corresponding parts, that provides the conductor, who typically leads rehearsals, with a convenient spot to tell the orchestra to begin at places other than the start of movements or pieces.
In reviewing Laufey’s August concert with the LA Philharmonic, Variety wrote, “Laufey feels like she was born to play the Hollywood Bowl, with her rapturously received pop/jazz/classical set.”
While piano-vocal scores tend to consist of the vocal lines and a piano reduction of the whole orchestra onto two staves, piano-conductor scores tend to consist of the vocal lines and one of the orchestral piano parts that already exists, coupled with another staff containing the rest of the orchestral reduction (in contrast to a piano-vocal score, where the piano and other orchestral parts ...
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